Ar#sts, Movements, and Styles in Western Art

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1 Ar#sts, Movements, and Styles in Western Art

2 Classical Greek Art Great emphasis on statues. Emphasized the human form in more natural poses. The idea was to create a statue in the perfect human form.

3 Discus Thrower - circa 460 B.C.

4 Ancient Roman Art The Romans wanted their art and architecture to be useful. Although the prac#cal uses of art were dis#nctly Roman, the art forms themselves were influenced by the ancient Greeks and Etruscans. In portraying their gods, the Greeks had been influenced by their ideas of form and beauty. Roman sculptors were greatly influenced by the Greeks. But the Romans showed their skill and originality in their portraits. They portrayed their emperors, generals, and senators with a degree of realism unknown to the Greeks. Thinning hair, double chins, crooked noses- - all the physical traits that make one person look different from another- - can be found in Roman portraiture.

5 Ancient Roman Art Pain#ng was usually done as a form of decora#on. A system of perspec#ve was known and used by the Romans. Red, black, and cream- white were among the most popular colors. Roman pain#ng achieved a high degree of naturalism through the ar#sts' understanding of perspec#ve and use of light and shade. The Romans painted many charming scenes from nature and portraits of children and beau#ful young men and women. Religion, too, inspired their art.

7 Gothic Art: Gothic Art defines much of the late medieval art that grew out of the Byzan#ne and Romanesque tradi#ons. These were very formal ar#s#c tradi#ons with rigorous religious conven#ons that limited the personal crea#vity of the ar#st. At this #me, the quality of an artwork was judged by the richness of the materials used to create it and the skill with which they were applied. Gothic art is dis#nguished from its predecessors by an increasing naturalism in the shape and posture of the figures, and an expressive use of line, pawern and color, allowing the ar#st more freedom of interpreta#on.

8 CIMABUE ( ) 'Maestà (Majesty)', c (tempera on panel)

9 Interna#onal Gothic: (c ) Interna#onal Gothic is the term used to describe the transi#on of styles across Northern Europe and Italy during the period between Byzan#ne Art, Late Gothic Art and Early Renaissance art. Interna#onal Gothic was an elegant, detailed and decora#ve style that comprised miniatures, illuminated manuscripts and ornate religious altarpieces. These artworks were populated by more natural and sensual figures than their Byzan#ne and Gothic counterparts, but were s#ll composed within the flawened pictorial space common to all Gothic art before the development of perspec#ve drawing in the 15th century.

10 GENTILE DA FABRIANO (c ) 'The Adora#on of the Magi', 1423 (tempera on panel)

11 The Early Renaissance (c ) The Early Renaissance was the period of ar#s#c development in Italy when art broke away from the rigid Byzan#ne and Gothic tradi#ons to develop a more naturalis#c approach to drawing and the organiza#on of figures within a landscape. The roots of these changes lay in the more solid rendering of form and the gestural narra#ves of GioWo's pain#ng. A more precise way of rendering depth was gradually developed through the crea#ve applica#on of perspec#ve drawing in the work of ar#sts such as Masaccio, Uccello, Fra Angelico and Piero della Francesca.

12 MASACCIO (c ) 'The Tribute Money', 1426 (fresco)

13 The High Renaissance (c ) The High Renaissance marks the pinnacle of ar#s#c development in Italian art of the late 14th, 15th and early 16th centuries. The word 'Renaissance' means 'rebirth' - a rebirth of the classical ideals from Ancient Rome and Greece. The great ar#sts of the High Renaissance were Leonardo da Vinci and Michelangelo Buonarro# from Florence, Raphael Sanzio from Umbria, and Ti#an (Tiziano Vecellio) and TintoreWo (Jacopo Robus#) from Venice.

14 The High Renaissance (c ) They painted artworks of unprecedented skill and beauty and were responsible for raising the status of the ar#st in society from the level of ar#san to an intellectual plane on a par with writers, philosophers and scien#sts. These great masters achieved what ar#sts had aspired to since the Early Renaissance: a revival of the classical ideals of beauty and form; an anatomical and scien#fic accuracy in drawing; a sensual and psychological response to color and composi#on, and an acceptance and apprecia#on of classical content as the subject mawer for art.

15 LEONARDO DA VINCI ( ) 'The Madonna of the Rocks', (oil on panel)

16 Baroque Art (c ) Baroque art is iden#fied by realis#c subjects that depict spectacular ac#on and generate powerful emo#ons. Religious, mys#cal and historical subjects, which were oien propaganda for the Church or State, were brought to life with characters in contemporary clothing, by naturalis#c pain#ng of outstanding virtuosity, drama#c ligh#ng (chiaroscuro) and bold asymmetric and diagonal composi#ons.

17 CARAVAGGIO ( ) 'David with the Head of Goliath', 1610 (oil on canvas)

18 Rococo Art (c ) Rococo is a term that derives from the French word rocaille which means rock- work, referring to a style of interior decora#on that swirls with arrangements of curves and scrolls. The style was essen#ally French but spread throughout Europe. Rococo was a decora#ve response to the realism of Baroque. While some authori#es consider Rococo to be a refined, elegant, and allegorical style, others judge it as pompous, indulgent and preten#ous.

19 JEAN HONORÉ FRAGONARD ( ) 'The Progress of Love - The Mee#ng', 1773 (oil on canvas)

Oman College of Management & Technology

Oman College of Management & Technology COURSE NAME: HISTORY OF INTERIOR DESIGN PROPOSED BY: DR.MOHAMED ALNEJEM SEMESTER: FIRST 2015/2016 CHAPTER (5): -The Renaissance in Italy -Baroque and Rococo in Italy